When we created “Qui vive!” in 2010, we did not know that the wind we hoped would rise again in several places around the planet. While from Cairo to Madrid people rise to take their destiny in their own hands, the call to free ourselves from our old skins and renew our vision of a possible world seems than ever in phase with present day concerns.
One lesson we have learned from successive failures that revolutions and political parties ankylosis is that unless we take the entire human condition and spectrum, any attempt to change the order of things falls back into repetitive and well known behavioral ruts.

Qui vive! a dramatic poem, a theatrical UFO, a disturbing manifest, cordial, bitter or irritating – is an attempt to share a taste for the rise of a new morning for humanity.

THÉÂTRE 2L'ACTE

Born into the turmoil of 1968, the Théâtre2l’Acte was, from the very beginning, committed to breaking up with the consensus of the theatre of the times. Finding the inspiration in the methods of Grotowski and Barba, listening to political positions of the Living Theatre, it gradually developed its own theatrical approach and expression. Deeply submerged into eddies of the society we live in, the Théâtre2l’Acte, intended to observe and be a kind of a catalyst, a harbinger of the approaching crisis and a factor in the accelerated production of catharsis. This led to a re-examination of the voice of each actor/spectator in a unique staging. Presenting an interaction of all stage parameters, the Théâtre2l’Acte is a polyphone form, which provides a sight for sore eyes and is an expression of the spectators’ imagination. The company has produced about fifty shows, outdoors and indoors, on classical stages frontally, in fragmented from, or in the form of a walk.

The aesthetics of the Théâtre2l’Acte at time resembles sculptural installations or performances. The theatre regularly cooperates with the musicians eminent in the field of improvisational music. The repertoire is quite eclectic: from Euripides and Genet through Mishima, Heiner Müller and Edward Bond, finding its consistency in the tragic depths and powers of these authors. From time to time the theatre makes its own creations, based on the improvisations or stage proposals of the protagonists.

Moreover, in the Theatre’s own hall ‘Ring’ in Toulouse, they run courses for young actors and other theatre artists. Its educational activity is mainly focused on the contemporary trends in theatre.